The White Cockatoo (Warner Bros.) (1935)

FEATURE STORIES —e—_—_ TTI Forgotten As Hero, Cortez Found Success As Villain Sereen Star Now Drops ‘‘Heavy” Roie To Play Leading Part In “The White Cockatoo” HERE have been plenty of ‘‘mystery men’’ in Hollywood but because of his utter frankness Ricardo Cortez, who for once is playing an heroic role in the Warner Bros. production, ‘‘The White Cockatoo,’’ which opens at Che au. Gisweenean..s Theatre on greatest enigma of them all. He is unquestionably one of the bud tube he eae , remains the most versatile and substantial actors on the screen, but amazes those with whom he comes in contact by exhibiting not one single trait of the actor. He is considered one of the best-dressed men in motion pictures but shies away when the matter is brought up because he refuses to be classed as a “mannequin.” He was groomed as a second Valentino, but he insists that his forte is playing “heavy” roles. He is one of the most popular men in the screen colony, yet rarely is seen where the bright lights’ glow, prefering his own fireside. He has seen every bitter side of the show business, but has never lost his bright outlook concerning the future. Cortez has been nearly sixteen years in motion pictures both in New York and Hollywood. “Coming through a grind like that,’ he says, “tempers a man considerably and what TITve learned, I’ve learned through personal experience. That gives me the right to believe as I do.” Brought up on the Lower East Side of New York City, he found a job in a broker’s office. His meagre spending money was invested in gallery tickets for the theatre until he finally got backstage in a minor role. Answering a call from the old Fort Lee, N. J. studios, he obtained a job as an extra in a picture of which Violet Mersereau was the star. Going to Hollywood, he immediately was surrounded by legends, most of which he vehemently denies. The first was that he at one time was a professional dancer. The second, that his screen name was taken off two cigar boxes. And the third, that he is temperamental. After five years as a star, Ricardo found himself slipping out of the motion picture world. RICARDO CORTEZ Mat No. 7 10c Forgotten as a leading man he “sold” the producers the idea that he was just what they were looking for in the way of good screen villains. From that time on, it was easy sailing, and he is equally at home in any role. “The White Cockatoo” is an exciting mystery drama with rapid fire action that holds the suspense up to a startling climax. It is laid in and around a ghostly hotel on the wind swept coast of France, where murder after murder is committed to the complete bafflement of the police. Jean Muir has the leading feminine role while others in the cast include Gordon Westcott, John Eldredge, Ruth Donnelly, Walter Kingsford, Minna Gombell, Armand de Bordes, Noel Francis and Addison Richards. The picture was directed by Alan Crosland from the screen play by Ben Markson and Lillie Hayward based on the novel by Mignon G. Eberhart. Jean Muir Worked Months Learning To Speak French When Jean Muir, who has the stellar role in the Warner Bros. production, “The White Cockatoo,” which comes to the .............. BCA LES: ON. is Ascecede-s tose , wanted to learn to speak French, she devoted six months of concentrated effort and hard work in Paris to the task. The first few months the blonde young star spent in France she lived with English speaking relatives in a tourist colony and learned only the customary smattering of tourist French. When she finally decided to take up the study of the language seriously, she left her relatives and went to live with a French family, among people who neither spoke nor understood English. At the same time she registered in the Sorbonne and started attending regular French classes in art subjects. For six months she neither spoke nor heard any English and at the end of that time she could speak, read and understand French without difficulty and almost without accent. “Of course I learned to swear in French first,’ Jean says. “The young people in the family with whom I lived, taught me that, thinking it a big joke. A few months later I knew enough French to know what not to say.” Miss Muir has had little chance to use her extensive knowledge of French in pictures, but in her latest role in “The White Cockatoo,” the locale of which is Southetn France, it came in handy. “The White Cockatoo’ is a melodramatic murder mystery thriller laid in a creepy hotel in France. Miss Muir and Ricardo Cortez head the cast which also includes Gordon Westcott, John Eldredge, Ruth Donnelly, Walter Kingsford, Minna Gombell, Armand de Bordes, Addison RRichards and Noel Francis. Alan Crosland directed. It’s Tough Job Training Animals For the Movies White Cockatoo Is Taught To Pick Pockets In Film Named After Bird Hero T LOOKS easy when you see them on the screen, those animals who display almost human intelligence, but the time, patience and energy spent in getting them to do specified things would drive the ordinary mortal mad. ‘‘There is a great deal of science to it,’’ says J. H. Kerr, Hollywood animal farm owner, who has devoted fifteen years to motion picture work, ‘‘but more important is the intuitive sense of the trainer in knowing the potentialities of the ani mal with which he is dealing.’’ Kerr, whose last assignment was the drilling of a sulphurcrested Australian cockatoo in the Warner Bros. production, “The White Cockatoo,” which comes to TGH.. 2.2 eam cee Theatre on Poe eee , declares that most trainers demand too much of their charges in a short period of time. “The time element is so important in motion pictures” he says, “that we are forced to rely on tricks. “However, we could eliminate tricks entirely if we were told far in advance just what was expected. Then we could train the animal naturally and therefore receive a much more satisfactory performance.” According to Kerr, cats, reptiles and rodents are the most difficult to train. Dogs are the easiest. And, contrary to popular belief, training for the stage is much less difficult than training for motion pictures. “Dogs naturally require masters,’ he relates, “which makes our work comparatively easy where they are concerned. -On the other hand cats are self-sufficient and need a long, consistent period of training. “Snakes, mice and rats, however, always do the wrong thing just about the time you feel they will come through. Fear has a great deal to do with this. “The reason that training for the stage is much easier than training for motion pictures is that once an animal learns a certain routine you can depend on it. “On the stage, the animal knows just what is expected of it and delivers. He knows his work is over the minute the routine is finished. He is kept away from strangers and the action is always the same. “In motion pictures, every act is different. Also, the animal is bewildered by the proximity of persons and lights and cameras. Naturally it is constantly nervous and upset.” In “The White Cockatoo,” it was Kerr’s job to train the cockatoo to take peanuts from his master’s pocket. He succeeded, but it took many days to do it. “The White Cockatoo” is an exciting mystery drama with rapid fire action that holds the suspense up to a startling climax. It is laid in and around a ghostly hotel on the wind swept coast of France, where murder after murder is committed to the complete bafflement of the police. Jean Muir and Ricardo Cortez have the leading roles while others in the cast include Gordon Westcott, John Eldredge, Ruth Donnelly, Walter Kingsford, Minna Gombell, Armand de Bordes, Noel Francis and Addison Richards. Alan Crosland directed the picture from the screen play by Ben Markson and Lillie Hayward, based on the novel by Mignon G. Eberhart. THERE’S A VITAPHONE SHO RT FOR EVERY PROGRAM! Take Your Choice of These .. Each One Selected as a Perfect Balance for ‘The White Cockatoo’ JEANNE AUBERT in “THE GEM OF THE OCEAN”—Rel. No. 9127, 2-reels, 20 mins., “Broadway Brevities” musical—The sparkling blonde musical comedy star, toast of the continent and of Broadway, in a singing and dancing operetta chock full of wholesome fun. Lavishly JEANNE AUBERT Mat available from Editor, Merchandising Plan; price 10c NICK LUCAS in “WHAT THIS COUNTRY NEEDS”—Rel. No. 9123, 2-reels, 19 mins, “Broadway Brevities” musical—The singing troubador, aided by lovely Janet Reade, in an hilarious burlesque of a bank run by Songs, comedy, and dance spectacles make it theatrical producers. two full reels of fun. “GOOD BADMINTON”—Rel. No. 9608, l-reel, 9 mins., “Pepper Pot’—Hugh Herbert and Walter Pidgeon supply the comedy in this action-sports staged and costumed. “HAIL COLUMBIA” by E. M. NEWMAN and JOHN B. KENNEDY—Rel. No. 9503, 1-reel, 10 mins.,—Third of the sensational new “See America First’ series, this reel covers the period from Washington's farewell to his troops until the War of 1812, Surefire entertain ment for all ages. ROSCOE ATES in “SO YOU WON'T T-T-TALK !"—Rel. No. 9209, 2-reels, 20 mins., Big ‘V’ Comedy—The world's champion stutterer supported by Shemp Howard and an all-laff cast in a rip-roaring comedy. Based on a series of uproarious domestic incidents, it can't help but get real howls. RICHARD HIMBER & HIS ORCHESTRA—Rel. No. 9903, 1-reel, 10 mins., “Melody Master” series—One of New York's top-notch orchestras, favorites of stage and radio, shine in this swift-moving musical. Joey Nash, nationally-known radio tenor, does the vocalizing. “POP GOES MY HEART”’—Rel. No. 9802, l-reel, 7 minutes, “Merrie Melody” song cartoon in full color—Based on the song-hit from “Happiness Ahead,” this full color cartoon comedy tops its predecessors in beauty a its charm and humor. pions nd originality. Kids from 7 to 77 will enjoy E. M. NEWMAN Mat available from Editor, Mer chandising Plan; price 10c short which features the fast badminton play of two national cham. A sport which is rapidly becoming popular, demonstrated by two experts, and sold by two ace comedians. “LISTENING IN” with CROSS & DUNN, MARY SMALL, IRENE TAYLOR, ARTHUR BORAN—Rel. No. 9609, l-reel, 10 mins, “Pepper Pot”—Singing stars of stage and radio feature the tunes which have made them famous. Comedy, action, and melody give this reel everything any audience could want. SL A a SL a ea Ea RSS NE A A ET SET I EE TT EET ST ID SL TID SL ELLE AIL LIL ELIE LLL LLL LL ELL LIED ELLIE LED LLL A DL LE Page Twenty-one